In this interview, we sit down with Marilyn Clark, a photographer whose journey from advertising to artistic photography has taken her from Bangkok to the Forest of Fontainebleau and, more recently, to Saudi Arabia. Known for her striking portraits and nature photography, Marilyn shares her experiences capturing the magical light of the forest, her evolution as an artist, and the fascinating stories behind her work with Saudi artists. We explore her creative process, how living in the forest has shaped her, and how a chance encounter led to a deep connection with Saudi Arabia’s art scene.
You’re sitting in front of one of your artworks from the Forest of Fontainebleau. Can you tell us about it?
The Forest of Fontainebleau captivated me the moment I arrived. This piece is one of my favourites, shot in late autumn—when the frost begins to settle, but the warmth of fall colours still lingers. It captures that magical moment just before sunrise when mist drapes the forest.
How did you end up in Fontainebleau?
I arrived during the COVID pandemic for an artist residency in Barbizon, a village at the forest’s entrance. What was supposed to be a short stay turned into six months, and I fell in love with the area. I debated returning to city life, but the idea of nature, space, and creative solitude won me over. I found a house with two friends—one a chef, the other a musician. One has since moved back to Paris, but the third room now rotates among visiting artists, creating a dynamic community.
Has living in the forest influenced your work?
Absolutely. Before moving here, 80–90% of my photography was black and white. But the ever-changing colours of the forest—especially the morning light—drew me into colour photography. While black and white remains powerful in portraiture, nature photography demands colour. Living here has also slowed me down, making me more observant, both in nature and in my interactions with people. Paradoxically, slowing down has accelerated my artistic process.
You started in advertising photography. How did you transition to artistic photography?
My first job was in Bangkok, working in advertising. I loved the city—the energy, the food, the art scene—but creatively, something was missing. While I enjoyed my work, advertising didn’t fulfil me. On the side, I shot portraits of friends and did street photography. After four years, I made the difficult decision to leave my stable life in Bangkok and move to Paris to pursue portrait photography.
What led you to photograph Saudi artists?
My connection to Saudi Arabia began in 2018 when I was hired to document Saudi filmmakers and artists at the Cannes Film Festival. The women I met there left a strong impression on me. In 2022, a friend invited me to visit Saudi Arabia, insisting I see the changes first-hand. I was hesitant, given how Western media portrayed the country, but I agreed to a short trip.
My first stop was AlUla during Desert X—an incredible introduction. I extended my stay from five days to three weeks, meeting artists and photographing figures like Ahmed Mater. I also connected with the Diriyah Biennale Foundation team during the inaugural Contemporary Art Biennale. A year later, I was invited to the Islamic Arts Biennale in Jeddah, where I photographed its architecture, scenography, and artists—including Muhannad Shono.
How did you end up photographing Muhannad Shono?
I met Muhannad a week before the Biennale opened while he was installing Letters in Light (Lines We Write). He was meticulously placing the strings of his artwork with his team. I immediately envisioned the portrait I wanted to capture—one that later became the cover of Selections magazine. Despite his tight schedule, he gave me time, and I was able to document his process and the powerful interplay of light in his work.
How has your relationship with Saudi Arabia evolved?
I find myself drawn back time and again. On each visit, I plan for a short stay with a few confirmed shoots, but word of mouth spreads fast, and I end up extending. People there are open, optimistic, and eager to be photographed, making it a dream for a portrait photographer. Saudi Arabia has also deepened my understanding of my craft. It has taught me to approach subjects without preconceived notions and to truly listen to their stories.
You originally pursued hotel management to travel. Do you feel photography has fulfilled that dream?
Absolutely. I didn’t need to study hotel management—I just needed a camera.
